Inside the “NFL Business of Music Boot Camp:” An Athletic New Alchemy is Launched

GREENWICH VILLAGE, MANHATTAN: Under the helmet of each man who ever competes in the NFL is a future ex-player. While the heart of a lion may beat inside, another life awaits them all – some sooner, some later.

The NFL had an unusual mission downtown.

As these gladiator-like athletes learned their game, the sound of music was a constant companion. At the high school and college level, marching bands set the soundtrack, with increasingly sophisticated musical cues becoming a big part of the fan experience. By the time these 22-year old warriors – quarterbacks, offensive tackles, linebackers, safeties, and kickers – make it to the hallowed stadiums of the National Football League, music has become an essential source of inspiration.

So while the announcement of the first-ever NFL Business of Music Bootcamp, hosted downtown this past week by NYU’s Clive Davis Institute of Recorded Music (part of the Tisch School of the Arts), may have raised some eyebrows, the bedfellows were not so odd as at first glance. An extremely intensive four-day breakdown of the music industry in 2012, the camp saw a who’s-who of business executives instructing 20 current and former NFL players on how to survive and thrive in the recorded sound sector.

There was talent to go around on both side of the ball. Big names like cornerback Al Harris, wide receiver Torry Holt, and safety Antoine Bethea lined up to face the likes of Downtown Records’ Josh Deutsch, Sony ATV Music Publishing’s Danny Strick, Bob Dylan manager Jeff Rosen, Bank Robber Music’s Lyle Hysen, Spike Lee, and Clive Davis himself.

Player Engagement: Keeping Athletes Connected

There are several reasons why this decidedly innovative convergence of music and athletics just took place in New York City.

Every year, the 32 teams of the NFL launch their seasons with 53 players on their roster – a 1,696-person pool right there. Mix in the hundreds of players that come and go from these lineups in the course of the year due to injury and sub-par performance, and you have an ever-growing mass of athletes that will eventually be leaving the league.

The NFL assumes some level of responsibility with assisting players – both current and retired – on their next careers via what they call player engagement. “The mission of NFL Player Engagement is to empower players to reach their highest potential both on and off-the-field through guidance, support, and resources provided before, during, and after their NFL experiences,” says Troy Vincent, NFL Vice President of Player Engagement. “We continue to look for ways to educate players and develop their skills for post-NFL experience. The NFL Business of Music Boot Camp builds upon the successes of our Business Management & Entrepreneurial program, and Broadcast Boot Camp in catering to players’ interests in new disciplines.”

The need to look ahead to their job after football is a concept most players get their heads around early on. Jon Dekker, a three-year tight end for the Pittsburgh Steelers and part of their Super Bowl XLIII-winning squad, was one of the 20 players accepted into the program – out of 100+ applicants. Dekker, who officially left the league after the 2008 season, took a one-week break from his MBA studies in the applied securities analysis program at University of Wisconsin’s Wisconsin School of Business, to take part in the Music Boot Camp.

NFL Music Boot Camp participant Jon Dekker is a former tight end for the Pittsburgh Steelers.

“It’s such a short shelf life in the NFL,” he points out. “I think the average career comes out to about 3 or 3 ½ years, and that’s one reason I applied to business school right after that career. It’s awesome and you want to extend it as far as possible, but the reality is that before you know it, it’s over.”

Justin Fargas was drafted in the third round by the Oakland Raiders in 2003, and spent his entire seven-season playing career with the team. While still technically a free agent (as opposed to being officially retired), Fargas’ attendance at the Boot Camp signified an acceptance that his playing days are over.

“I’m content with moving on,” says Fargas. “Every player — that plays or is no longer playing – still has a love and a passion for the game. I feel mentally and physically that I can still play the game, but I’m ready to move on.”

Fargas first learned of the Boot Camp via an email update from the NFL Player’s Association (NFLPA). A rapper and lyricist with a longtime dream of starting his own record label, Fargas’ interest was immediately piqued. “When I saw the music industry was a program being offered, it caught my eye,” he recalls. “Then when I saw what it would entail, it seemed perfect for me.

“As an athlete with an interest in the business, you can spend a lot of money and a lot of time, and waste a lot of money and a lot of time. Music can become a very expensive hobby. My goal was to turn my passion — and what I do in my free time — into a business.”

The Shoe Fits: Athletes and Music Go Way Back

There are many obvious parallels between the NFL and music industry: They both stand as potentially huge-profit-making entertainment sectors where artists, athletes, labels and teams become formidable franchises. But the interweaving of sound and sport go deeper than just an obvious continuing-education concept.

Music is a massive inspiration to athletes as they prepare to do battle. “Before the games, the guys were on their headphones,” says Dekker, who plays three instruments and routinely charged up with Pearl Jam’s 10 and Vitalogy. “Music is a way for them to focus, or get their energy flowing before the game. The same way music moves a non-athlete before the game, it does for the athlete. Motivation is the key.

“A lot of NFL guys, like who you saw at the Boot Camp, have outside interests, and music’s a big thing. A lot of guys who come up have played guitar or piano. That’s a hobby of theirs, and they appreciate the value of music. In the pro stadiums, the big thing I remember from Pittsburgh was the Styx song ‘Renegade’ – they’d play it before the fourth quarter set video of defensive highlights, and every time the crowd would get up. Here in Wisconsin they traditionally play ‘Jump Around’ by House of Pain, that’s a Madison tradition.”

The power of music and sport — “Renegade” has a visceral impact on the Steelers crowd:

The league’s players are well attuned to music’s role in their competitive environment. So it starts to make sense why NFL linemen would be qualified to spot talent, run a label, oversee a recording session, or music supervise a movie – all fundamentals which were explored in the course of the Boot Camp’s curriculum.

Dekker says that when it comes to the work ethic required for today’s music business – an increasingly competitive arena where supply is growing exponentially, margins are falling, distribution is open to everybody, and new technologies are invented and converged daily – professional athletes have an edge.

“I think an athlete definitely has the understanding of how much has to go into it,” he observes, “and obviously all those players at NYU this week didn’t get into the NFL without putting in a lot of time and a lot of work. I think they realize how much of that has to be replicated if they’re going to accomplish that in music.

“You also have a lot of different athletes from different backgrounds that have varied musical tastes. You can bring your own unique musical tastes to the forefront. In addition, athletes are also entertainers. That’s why I love to go to concerts, and why musicians love to go to a sporting event. It’s an appreciation for the other’s craft.”

Fargas readily acknowledges he’s trading one rough road for the other with his career choice. “Neither one is an easy job — it’s not easy to make it in the music business, and it’s definitely not easy to make it in pro sports.

“I’ve probably been writing and being creative in music longer than I knew I was going to play professional football. I’ve never wavered from my passion for music. I’ve never pursued it consistently because I was playing football. But now I’m moving into a new phase of my life, and putting 100% percent of my energy into realizing my creative dreams.”

Up Close with Clive

The 20 players who arrived at NYU kicked off the Boot Camp via an intimate keynote Q&A with iconic Sony Music Chief Creative Officer Clive Davis, who shared career highlights and lessons with a rapt audience. In the 90-minute session, questions from the players were numerous and Davis was frank on all fronts with them.

Clive Davis began the Boot Camp in fast fashion. (Photo Credit: Esther Nisanova/NFL)

He stressed at one point that “new companies with the right creative leadership, and executable insight, can grow;” outlined his simple evaluation process for hit potential as “gauging melody, hook, lyric;” and saw in a young Sean Combs someone “who understood the importance of finding headliners.” In response to repeated questions, Davis reiterated that NFL players would have no easier time scoring hits as artists than myriad rock star-aspiring Hollywood actors had, and also underscored the global reach of today’s music business.

“You always have to think worldwide,” Davis said. “The big artists today, like Mariah Carey and Celine Dion, have a worldwide arena. Alicia Keys went everywhere. (The business) is half in the U.S., and half outside the U.S.”

Following the keynote, the congenial group of players – which also included pros like Minnesota Vikings punter Chris Kluwe, hard-hitting Buffalo Bills safety Bryan Scott, the imposing offensive tackle L.J. Shelton (Arizona Cardinals, Cleveland Browns, Miami Dolphins, San Diego Chargers), and wide receiver Brandon Lloyd (now with the St. Louis Rams, his fifth team) – were whisked off to a micro-MBA on music. Their schedules went from 6:30 AM until 8:30 or 9:00 PM daily, with itineraries planned to the minute, insuring maximum information and connectivity with the 19 expert-led panels and workshops that would follow in the four days to come.

“With many current and former players interested in the business of music, we developed this program with NYU’s Clive Davis Institute of Recorded Music to assist those players in determining whether music is a potential career for them,” Vincent said of the course design. “For those players who decide to pursue the music industry as a career option, we’re hopeful that the skills and contacts from this program will serve as a springboard into the industry.”

Four Days of Music Business Immersion

Just like on game day, the players had an early breakfast, then got on a bus together at the hotel – only this time they were taken to a no-nonsense slate of crash courses starting at 8:00 AM. “Finding the Hit Song” was run by Rob Stevenson (Executive VP of A&R, Universal Republic Records), Sean Stevenson (Founder, 0260 Group) and Imran Majid (Senior Director of A&R, Universal Republic Records). “Artist Development & The Power of Social Media” was headed by Jonathan Daniel (Manager, Fall Out Boy, Train) and Sam Hollander (Songwriter and Record Producer for O.A.R., Gym Class Heroes, Kelly Rowland).

Primary Wave was one of many NYC innovators onsite.

After a 15-minute break, they dove in to the likes of “Music Publishing 101” from Danny Strick (Co-President, Sony ATV Music Publishing), Seth Faber (Partner & Director, marketing/Artist Development, Primary Wave Music) and Juan Madrid (Vice President of Urban A&R, Warner/Chappell LA). Following a Business Plan Workshop and lunch, synch supervision took center stage with “Music in Today’s Film, TV and Advertising” via Errol Kolosine (Business Area Lead, The Clive Davis Institute of Recorded Music), Lyle Hysen (Founder, Bank Robber Music), and Jeff Rosen (Manager, Bob Dylan).

Later, perhaps “Music Distribution: Target, iTunes, and the International Marketplace” was presented by Ron Spaulding (General manager, Fontana Distribution Group). Maybe Spike Lee drops in. Then into the studio for “Making the Record, Part 1”, where Nick Sansano (Head of Production Studies, the Clive Davis Insitute of Recorded Music) and Ryan Leslie (Recording Artist, producer, Social Media Entrepreneur, Founder of NextSelection Lifestyle Group) reviewed the principles of digital vs. analog, and recording basics.

Cap all that (and much more) with a one-on-one session with an industry mentor (Note: Your author served in this capacity to one of the players), and the result is a comprehensive course that concludes in a highly customized consultation for the player. Along the way, ongoing connections between all parties – players, speakers, panelists, mentors — are highly encouraged.

In the process, the Boot Camp created a much needed “safe zone” where players could learn from trusted sources that were there strictly to help them solve problems, and not become part of their posse. “Out there in the real world, you meet a lot of people who tell that they can do this – if you pay this much money, they can do it for you,” says Fargas. “A lot of it is not tangible. What we’re learning here is from professionals, that are actively doing it and don’t have anything to gain on the surface from us.

“The Boot Camp has really exceeded my expectations. I can’t even really put a value on the experience, just from the contacts I’ve made, the people I‘ve heard speak, the wealth of experience – from Clive Davis to Spike Lee, to Ryan Leslie and more music executives who are telling you how it is.”

For Dekker the result was twofold: a better understanding of the music industry, and tips on the best way of going about things – provided this was a dream he wanted to pursue. “A lot of us are wondering, ‘What does it really take to get into this business, and what do I have to put in?’ This clarified a lot I didn’t know.

“I think it was Rob Stevenson who said at the Boot Camp, ‘You bet on the artist,’ and that was really an interesting point. You can hear a song, but at the end of the day the artist is the sustainable part of the equation. One song may be an artist’s only hit, but if you have a better artist, you have a better chance of making more hits.”

The Right Time

It’s particularly important for the NFL to be launching this initiative now. The league is defending itself against a growing number of lawsuits blaming the NFL for concussion-related dementia and brain disease – plaintiffs number in the hundreds, and include big names like Super Bowl champ Jim McMahon, Jamal Lewis, and Dorsey Levens.

When the Player Engagement department gets creative and offers relevant new initiatives, the players receive tools they can use from the league. With Vincent’s background as a first-round draft choice player who competed with four different clubs, its unlikely there’s anything PR-ish behind it – the Music Boot Camp is a logical extension of what the NFL can offer to its current and former players.

It will be interesting to track the cultural impact of the NFL Business of Music Boot Camp – this one and hopefully ones to follow. The program introduces a complex new synthesis: Many possibilities are created when people with clout, a deep sense of commitment, teamwork, and discipline, are invited into a creative industry that would benefit from their presence.

Back at NFL HQ, Troy Vincent and his staff will assess the first Boot Camp, relying heavily on feedback from players and faculty. “We will review the pre- and post-program comments to determine how to model the program in future years,” Vincent explains. “We had more than 100 applicants for the program this year and only 20 slots. With such an extremely high level of interest, we will have to consider offering the program multiple times per year. We know that there will be interest moving forward — our challenge is to innovate and improve everything we do.”

From Vargas’ perspective, the Music Boot Camp is off to a strong start. “I definitely have more of a focused vision on what I need to do, how to go about it, and how to address the things that I’m not good at,” he says. “There’s a lot more to the music business than creating good music. As far as promotion, marketing, utilizing resources, leveraging your relationships, I learned there’s a lot of things you can do in ways where you can save time or money. Or, if you are going to spend money, how to spend it in the right ways with the right people.”

Robin Yount and Pearl Jam — united.

The Stars Align for Music and Sports

A three-sport star in his Wisconsin high school, Jon Dekker grew up equally inspired by All Star Milwaukee Brewers shortstop/centerfielder Robin Yount, and the band that is Pearl Jam.

“Robin Yount was the consummate professional,” Dekker states. “He came to the ballpark every day, and made spectacular plays on the field. That inspires you to want to go out and make similar plays: have the clutch hit, make the big play on the football field.

“Pearl Jam just had their 20th anniversary. They’re a group of guys who have been together for a while, and came together to make great music. The sustainability of Pearl Jam is unheard of. Rock bands are like NFL teams – they don’t last that long. And look at their commitment to their fan base: They’re putting out great music and keeping a tight relationship with their fans.”

As the NFL pioneers initiatives like this, it’s interesting to think about whether America’s other major other leagues – the MLB, NBA, and NHL – are creating similar programs for its players. We already know how Shaq raps, but how else would everybody roll? The possibilities of pro baseball, basketball, and hockey players leveraging their status, relationships, and – in some cases – considerable wealth, in the music arena are extremely intriguing .

“I think anytime you have athletes wanting to diversify, then that’s desirable, and it’s another great thing that could come to the table for music,” says Jon Dekker. “Nobody knows who will write the next hit. We may lead everyone to a great song or artist that otherwise wouldn’t get heard.”

— David Weiss

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